Steinberg Cubase 4 Operation Manual

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The Sample Editor
8.Click and drag the red flag (Stretch Bars) to the left or 
right until the second bar in the ruler is aligned with the 
position of the second downbeat of the sample, and re-
lease the mouse button.
The start of the next bar is set, and all grid positions will be stretched.
9.Check the other beats and hold down [Alt]/[Option] to 
use the pink flag (Stretch Previous - Move Next) if neces-
sary.
This flag is shown at bar positions. When you drag it with the mouse, the 
start of the next bar is set, and the tempo of the last bar will be changed.
10.Now have a look at the single beats in between the 
bars, and, if necessary, hold down [Ctrl]/[Command] to use 
the blue flag (Adjust Beat Position - Single) to adjust them.
Drag the flag until the single beat position is aligned with the waveform, 
and release the mouse button. 
11.Activate playback.
If you find that the beat sounds too straight, you can either adjust the 
Quantize value on the Playback tab or move the Swing slider to add 
swing.
The loop will automatically adjust to the project tempo, 
and follow any further tempo changes you make! In the 
Project window, the audio event will have a note symbol 
and two arrows in the upper right corner. The note symbol 
indicates Straighten Up mode and the arrow indicates that 
the file is stretched. 
						

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The Sample Editor
Determining the tempo of an audio loop and 
slicing your audio
1.Import a suitable audio file, for example a drum loop.
2.Double-click the loop to open it in the Sample Editor.
I f you r want to w ork with longe r aud io file, possibly with an upbeat, define 
a loop or resize the event as described in the section “Determining the 
audio tempo automatically and time-stretching your audio” on page 247.
3.Open the Definition tab and make sure the length in 
bars corresponds to the actual audio file.
If necessary, listen to your audio and enter the correct bar length.
4.On the Hitpoints tab, open the “Use” pop-up and se-
lect the desired option.
This affects which hitpoints should be shown when moving the Sensitiv-
ity slider (see “Setting the sensitivity” on page 255).
5.Adjust the Sensitivity slider.
The hitpoints are shown. 
6.If necessary, select the Edit Hitpoints tool to edit hit-
points manually.
You can add, delete and listen to hitpoints by pressing [Alt]/[Option] and 
clicking in the waveform. For detailed informations about hitpoints and 
their editing, see below.
7.Now, click the Slice & Close button in the Hitpoints 
tab to create audio slices from your hitpoints.
The loop will be sliced and adjusted to the project tempo. The Sample 
Editor will be closed.
In the following sections you will find more detailed infor-
mation on editing and using hitpoints.
Working with hitpoints and slices
Hitpoint detection is a special feature of the Sample Edi-
tor. It detects attack transients in an audio file and then 
adds a type of marker, a “hitpoint”, at each transient. 
These hitpoints allow you to create “slices”, where each 
slice ideally represents each individual sound or “beat” in 
a loop (drum or other rhythmic loops work best with this 
feature). When you have successfully sliced the audio file, 
you can do a number of useful things with it:
 Change the tempo without affecting the pitch.
 Extract the timing (a groove map) from a drum loop. This can 
then be applied to quantize other events.
 Replace individual sounds in a drum loop.
 Edit the actual playing in the drum loop without affecting the 
basic feel.
 Extract sounds from loops.
ÖThe term “loop” is used throughout this section. Loop 
in this context usually means an audio file with a musical 
time base, i.e. the length of the loop represents a certain 
number of bars and/or beats at a certain tempo. Playing 
the loop back at the right tempo in a cycle set to the cor-
rect length will produce a continuous loop without gaps.
Using hitpoints
The basic functionality of using hitpoints to slice up a loop 
is to make a loop fit the tempo of a song, or alternatively to 
create a situation that allows the song tempo to be 
changed while retaining the timing of a rhythmic audio 
loop, just like when using MIDI files. 
Which audio files can be used?
Here are some guidelines as to what type of audio files are 
suited for slicing using hitpoints:
Each individual sound in the loop should have some no-
ticeable attack. 
Slow attacks, legato playing etc. may not produce the desired result.
Poorly recorded audio might be difficult to slice cor-
rectly.
In these cases, try to normalize the files or to remove DC Offset.
There may be problems with sounds drowned in smear-
ing effects, like short delays.
!When a selection range is defined, hitpoints will only 
be detected within this range.  
						

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The Sample Editor
Calculating hitpoints and slicing a loop
Before proceeding, find a suitable loop using the criteria 
above. Proceed as follows:
1.Open the event or clip for editing in the Sample Editor.
You can do this by double-clicking an event on an audio track in the 
Project window or a clip in the Pool. In this example, we assume you 
work with an event on a track.
2.Open the Hitpoints tab in the Sample Editor Inspector 
and select an option from the Use pop-up. 
These settings don’t affect the actual detection but rather which hit-
points will be shown afterwards. If you e.g. know that your loop is based 
on 1/16th notes, select “1/16”. If you’re uncertain, set this to “All” – you 
can change this setting afterwards if needed (see “Setting the sensiti-
vity” on page 255). 
The Use pop-up menu
3.Adjust the sensitivity slider.
Now, as you can see, hitpoints have been set at the beginning of each 
sound in the loop.
4.If you now move the hitpoint sensitivity slider to the 
left, this gradually hides the hitpoints. Moving the slider to 
the right increases the sensitivity to reveal additional hit-
points detected during the calculate process.
The basic aim is to add, remove or edit the hitpoints in various other ways 
so that one individual sound is played between each hitpoint. For details, 
see “Editing hitpoints” on page 254.
5.Verify the tempo and bars in the Definition tab. 
In the next step, the loop will adapt to the project tempo 
set in Cubase. 
6.In the Hitpoints tab, click on the Slice & Close button 
to create audio slices from hitpoints. (You can also use the 
option “Create Audio Slices from Hitpoints” from the Au-
dio menu.)
The following happens:
 The Sample Editor closes.
 The audio event is “sliced” so that there is a separate event for 
each hitpoint. 
 The audio event is replaced by an audio part, containing the 
slices (double-click the part to view the slices in the Audio 
Part Editor).
 The loop is automatically adapted to the project tempo.
The slices in the Audio Part Editor. Here, the project tempo was higher 
than the loop’s original tempo – the slice events overlap slightly.
Sliced clips are represented by a different icon in the 
Pool.
Dragging the sliced clip from the Pool to an audio track will create an 
audio part with the slices adapted to the project tempo, just as above.
7.If you activate cycle playback on the Transport panel, 
the loop should now play back seamlessly at the tempo 
set in the program! 
						

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The Sample Editor
8.To make the loop follow any further tempo changes, 
make sure the track is set to “Musical time base” by using 
the respective button in the Track list or Inspector (the 
button should show a note symbol – see “Switching bet-
ween musical and linear time base” on page 42).
Note that if the project tempo is lower than the original 
tempo of the loop, there may be audible gaps between 
each slice event in the part.
This can be remedied by using the Close Gaps function on the Ad-
vanced submenu of the Audio menu, see “Close Gaps” on page 258. 
You should also consider activating auto fades for the respective audio 
track – fade-outs set to about 10 ms will help eliminate any clicks be-
tween the slices when you play back the part. See “Fades, crossfades 
and envelopes” on page 87.
If the project tempo is higher than the loop’s original 
tempo, you may want to activate auto crossfades for the 
track.
You can use the Close Gaps functions in this case as well, see “Close 
Gaps” on page 258.
Editing hitpoints
In this section, we go back a bit and look at what can be 
done with hitpoints in the Sample Editor. There are two 
ways to invoke the hitpoint calculation:
Use the sensitivity slider on the Hitpoints tab of the 
Sample Editor Inspector.
Select Calculate Hitpoints from the Hitpoints submenu 
on the Audio menu.
For some loops, this may be all that is needed to set the 
hitpoints so that each slice to be created will contain a 
single “hit” or sound. However, there will almost certainly 
be cases when the automatic calculation may add a hit-
point where there shouldn’t be one, and fail to add a hit-
point where one is needed, even if the sensitivity slider is 
set to maximum. If there are too many or too few hitpoints 
in a loop, it will most probably not play back properly.
When this occurs, you have to edit the hitpoints manually 
in the Sample Editor.
Auditioning slices
A slice is a section of the waveform, from one hitpoint to 
the next. 
The first thing you should do before editing hitpoints is to 
listen to each slice in the Sample Editor to determine what 
they contain. The aim is to avoid “double hits”, like a snare 
hit being followed by a hi-hat hit within the same slice. You 
also want to determine whether any hitpoints have been 
added that should be removed: 
1.Open a loop in the Sample Editor.
If you have already created slices, you can open them in the Sample Ed-
itor by double-clicking any event in the Audio Part Editor. If it is a new 
loop, follow the instructions below.
2.Open the Hitpoints tab and select the Edit Hitpoints 
tool.
When you point in the waveform display, the pointer changes to a 
speaker icon.
Click on this button to edit hitpoints 
						

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The Sample Editor
3.Now you can simply point and click in any slice area 
and the corresponding slice will be played back from the 
beginning to the end.
Listen for “double hits” and slices that contain parts of a single sound. 
If you find hitpoints that need to be removed or instances 
where a hitpoint needs to be added, the first thing to try is 
to change the sensitivity setting – see the following sec-
tion.
Setting the sensitivity
The loop is first analyzed to determine where hitpoints 
should appear (where the individual “beats” in the loop are), 
then you manually set the sensitivity with the sensitivity 
slider to determine how many hitpoints there should be.
Try raising the sensitivity to add “missing” hitpoints and 
lowering it to remove unwanted hitpoints.
This may or may not work, depending on the situation, but as a general 
rule you should try this first.
Audition the slices again to determine if changing the 
sensitivity has improved matters.
The “Use” pop-up menu in Hitpoints tab of the Sample 
Editor Inspector affects which hitpoints are shown and is 
a useful tool for removing unwanted hitpoints. The options 
on the pop-up menu are:If your main reason for slicing the loop is to change the 
tempo, you generally need as many slices as you can get, 
but never more than one per individual “hit” in the loop.
If you want to create a groove (see “Creating groove 
quantize maps” on page 257), you should try to get ap-
proximately one slice per eighth note, sixteenth note or 
whatever the loop requires.
Disabling slices
You might run into situations where there are too many 
slices – a single sound may have been split into two 
slices, for example. You could of course reduce the sensi-
tivity to get rid of the hitpoints you don’t want, but then 
other hitpoints could disappear too, which may be unde-
sirable. What you need to do in a situation like this is to 
disable an individual slice:
1.Open the Hitpoints tab in the Sample Editor Inspector 
and select the Edit Hitpoints tool.
2.Press [Alt]/[Option] and move the pointer to the han-
dle (the triangle).
The pointer turns into a cross. 
3.Click on the handle of the hitpoint you wish to disable.
The hitpoint handle is diminished and its line disappears to indicate that 
it is disabled.
4.Now, the hitpoint won’t be taken into account when 
you create slices.
5.To reactivate a disabled hitpoint, [Alt]/[Option]-click 
on the hitpoint handle in Edit Hitpoints tool.
Option Description
All All hitpoints are shown (taking the sensitivity slider into 
account).
1/4, 1/8, 
1/16, 1/32Only hitpoints that are close to the selected note value 
positions within the loop will be shown (e.g. close to ex-
act sixteenth note positions, if the 1/16 option is se-
lected). Again, the sensitivity slider is taken into account.
Metric Bias This is like the “All” mode, but all hitpoints that are close 
to even meter divisions (1/4 notes, 1/8 notes, 1/16 
notes, etc.) get a “sensitivity boost” – they are visible at 
lower sensitivity slider settings. This is useful if you are 
working with dense or cluttered material with a lot of hit-
points, but you know that the material is based on a strict 
meter. By selecting Metric Bias it will be easier to find the 
hitpoints close to the meter position (although most other 
hitpoints are also available, at higher sensitivity settings). Option Description 
						

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The Sample Editor
Locking slices
If you lock a hitpoint by clicking on its handle with the Edit 
Hitpoints tool, it will stay even if you drag the sensitivity 
slider all the way to zero. This can be used in situations 
where one or several slices contain double hits, but raising 
the sensitivity adds a lot of unwanted slices.
1.Find the place where you hear double hits when audi-
tioning.
2.Remember the current slider setting.
3.Raise the sensitivity slider to a higher value so that a 
hitpoint appears, separating the two sounds.
Most likely this will add a lot of other unwanted hitpoints as well.
4.Audition to make sure you got what you wanted.
5.Point at the handle with the Edit Hitpoints tool.
The speaker icon changes to a normal arrow pointer.
6.Click on the handle to lock the new slice.
Locked hitpoints are displayed in a darker color.
7.Drag the sensitivity slider to the original setting.
The locked hitpoint will remain shown.
You can unlock a locked hitpoint by clicking it again 
with the Edit Hitpoints tool.
Setting hitpoints manually
If you cannot get the desired result by adjusting sensitivity, 
disabling or locking, you can add, move and delete hit-
points manually.
Manually adding hitpoints can be done in situations where 
a hitpoint is missing at a specific point, but doesn’t appear 
even if the sensitivity is set to full.
1.Zoom in on the waveform at the point where you wish 
to add a hitpoint.
2.Select the Edit Hitpoints tool to audition the area and 
make sure that the start of the sound is in view.3.Activate Snap to Zero Crossing on the Sample Editor 
toolbar.
By finding zero crossings in the waveform (positions where the amplitude 
is close to zero), manually added slices won’t introduce any clicks or 
pops. All hitpoints found by the Calculate function are automatically 
placed at zero crossings.
4.With the Edit Hitpoints tool selected press [Alt]/[Op-
tion] so that the mouse pointer changes to a pencil tool 
and click just before the start of the sound.
A new hitpoint appears. Manually added hitpoints are locked by default.
If you click and keep the mouse button pressed, you can 
adjust the position of the new hitpoint by dragging.
Releasing the mouse button adds the hitpoint.
5.Audition the new slice with the Audition tool to make 
sure you got what you wanted.
If you manually added a hitpoint, and it was either placed 
too far away from the start of the sound or too far into the 
sound, you can manually move the hitpoint. It is also pos-
sible to move calculated hitpoints this way.
1.Make sure Snap to Zero Crossing is activated on the 
Sample Editor toolbar.
2.Select the Edit Hitpoints tool.
3.Click on the hitpoint handle and drag it to the new 
position.
To delete a hitpoint, select the Edit Hitpoints tool and drag 
the hitpoint out of the Sample Editor window. Hitpoints 
that you have created manually can also be deleted by 
clicking their handle.
!“Snap to Zero Crossings” may alter the timing. In 
some cases it might be better to deactivate it, espe-
cially if you just want to generate a groove quantize. 
However, if you create slices afterwards, auto fades 
will then be necessary. 
						

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The Sample Editor
Match-Quantizing audio
Optionally, hitpoints can have individual Q-points. These 
are mainly used for audio quantizing. Their function is to 
define the point to which the quantizing will apply. Some-
times a slice might have a slow attack, and a peak further 
into the slice which you wish to use as the Q-point. When 
you apply quantize, the Q-point will define where the warp 
tab will be added. This also defines the point which will be 
stretched to a grid position when quantizing.
To activate Q-points, open the Preferences (Editing–
Audio page) and activate the option “Hitpoints have Q-
Points”.
Next time you use the Calculate Hitpoints function, the hitpoints will have 
Q-points.
To offset the position of a Q-point in relation to the hit-
point, simply click on the “Q” icon and drag it to the right 
to the desired position.
Creating slices
When you have specified the correct loop length and time 
signature and worked on the hitpoints in the Sample Edi-
tor so that one sound per slice is heard, it is time to actu-
ally slice the file (if that is what you want to do – there are 
other uses for hitpoints as well, as described on the fol-
lowing pages). This is done either by clicking on the Slice 
& Close button in the Hitpoints tab of the Sample Editor 
Inspector or by selecting “Create Audio Slices from Hit-
points” from the Hitpoints submenu on the Audio menu.
The following happens:If you edited an event on an audio track, the Sample Ed-
itor closes.
The audio event is “sliced” so that there is a separate 
event for each hitpoint.
In other words, the sections between the hitpoints become separate 
events, all referring to the same original file.
On the audio track, the former audio event is replaced 
by an audio part that contains the slices. 
If you edited a clip from the Pool, you need to drag it to an audio track to 
get a part with the slices. 
See also the section “Calculating hitpoints and slicing a 
loop” on page 253.
The loop is automatically adapted to the tempo set in 
Cubase.
This takes the loop length you specified into account: e. g., if the loop 
was one bar long, the part is resized to fit exactly one bar in the Cubase 
tempo, and the slices are moved accordingly, keeping their relative posi-
tions within the part.
You can change the tempo and have the loop automati-
cally follow (provided that the track is set to musical time 
base, see “Switching between musical and linear time 
base” on page 42). Furthermore, you can double-click the 
part to edit the slices in the Audio Part Editor to: 
 Remove or mute slices.
 Change the loop by reordering, replacing or quantizing slices.
 Apply processing or effects to individual slices.
 Create new files from individual slices using the “Bounce Se-
lection” function on the Audio menu.
 Realtime transpose and stretch slices.
 Edit slice envelopes.
Creating groove quantize maps
You can generate groove quantize maps based on the hit-
points you have created in the Sample Editor. Groove 
quantizing is not meant for correcting errors, but for creat-
ing rhythmic feels. This is done by comparing your re-
corded music with a “groove” (a timing grid generated 
from the file) and moving the appropriate notes so that 
their timing matches the one of the groove. In other words, 
you can extract the timing from an audio loop and use it for 
quantizing MIDI parts (or other audio loops, after slicing 
them).
!Sounds with a slow attack have their rhythmic center 
at some point before the peak. 
!Only when the audio tempo has been defined and 
the audio grid matches the project tempo, your slices 
will be straight (quantized). 
!When you create slices, all events containing the ed-
ited clip will also be replaced. 
						

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The Sample Editor
Proceed as follows:
1.Check the audio tempo and define the audio grid as 
described above.
2.Create and edit hitpoints as described above.
You don’t have to create slices – just set up the hitpoints.
You should try to get approximately one slice per eighth 
note, sixteenth note or whatever the loop requires when 
setting hitpoints for extracting a groove.
It can be helpful to use one of the note value-based options on the “Use” 
pop-up menu when you’re setting up the hitpoints (see “Setting the sen-
sitivity” on page 255).
3.When you have finished setting the hitpoints, click on 
the Make Groove button in the Hitpoints tab of the Sam-
ple Editor Inspector or select “Create Groove Quantize 
from Hitpoints” from the Hitpoints submenu on the Audio 
menu.
The groove is extracted.
4.If you now pull down the Quantize Type pop-up menu 
in the Project window you will find an additional item at the 
bottom of the list, with the same name as the file from 
which you extracted the groove.
This groove can now be selected as a base for quantizing, just like any 
other quantize value. See “The Quantizing functions” on page 325.
5.If you want to save this Groove, open the Quantize 
Setup dialog and store it as a preset.
ÖYou can also create grooves from a MIDI part by se-
lecting the part and dragging it on the grid display in the 
middle of the Quantize Setup dialog or by selecting “Part 
to Groove” from the Advanced Quantize submenu on the 
MIDI menu.
Other hitpoint functions
On the Hitpoints tab of the Sample Editor Inspector and 
on the various submenus of the Audio menu, you will also 
find the following functions:
Create Markers
If an audio event contains calculated hitpoints, you can 
click on the Create Markers button in the Hitpoints tab to 
add markers – one for each hitpoint (see “Using the Mar-
ker track” on page 108). This can be useful to snap to hit-
points, e.g. for locating hitpoints and for using the 
Timewarp tool (see “The Time Warp tool” on page 402).
Create Regions
If your audio event contains calculated hitpoints, you can 
click the Create Regions button in the Hitpoints tab to au-
tomatically create regions from hitpoints. This can be use-
ful to isolate recorded sounds, in order to upload them, 
e.g. to HALion either as velocity or keyzones.
When you make a selection, regions will only be calcu-
lated from the hitpoints that are contained in the selection.
Create Events
When you simply wish to create separate events according 
to the hitpoints for a file, you can click on the Create Events 
button in the Hitpoints tab. This means that you do not have 
to make the same considerations as when slicing for tempo 
changes. You can use any method you like to set hitpoints.
The slices created will appear in the Project window as 
separate events.
Close Gaps
This Advanced submenu function on the Audio menu is 
useful, if you have sliced a loop for tempo changes. Low-
ering the tempo below the loop’s original tempo will cre-
ate gaps between the slices. The lower the tempo is in 
relation to the original tempo, the wider the gaps will be. 
Close Gaps can be used to remedy this.
1.Set the desired tempo.
2.Select the part in the Project window.
3.Select “Close Gaps” from the Audio menu – Ad-
vanced submenu.
Now time-stretch is applied on each slice to close the gaps. Depending 
on the length of the part and the algorithm set in the Preferences, this 
can take a little while.
4.The waveform is redrawn and the gaps are closed!
Note that this feature creates new clips in the Pool, one 
for each slice.
Close Gaps can also be used when the project tempo 
is higher than the original loop tempo.
This will use the time-stretch function to compress the slices to fit.
If you decide to change the tempo again after using the 
Close Gaps function, you should undo the Close Gaps 
operation or start over again, using the original un-
stretched file. 
						

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The Sample Editor
You can also use this function on individual events (in 
the Audio Part Editor or Project window).
The events don’t have to be slices – you can use Close Gaps simply to 
stretch an audio event to the start position of the next event.
Free Warp
Warp tabs are a kind of marker or anchor that can be 
attached to musically relevant time positions in an audio 
event, e.g. the first beat of every bar. Warp tabs can be 
dragged to the corresponding time positions in the 
project, and the audio will be stretched accordingly. 
A typical application of warp tabs is to use them to synchro-
nize audio to video.
You can also use warp tabs for further tweaking after hav-
ing applied Straighten Up (see “About the Straighten Up 
mode” on page 249).
Using the Free warp tool 
Warp tabs are created using the Free Warp tool on the 
Playback tab of the Sample Editor, but can also be cre-
ated from hitpoints (see “Creating warp tabs from hit-
points” on page 261). In this example, we will show how a 
file with a slightly varying tempo can be locked to a steady 
tempo by using warp tabs.1.Open the audio file you wish to process in the Sample 
Editor.
2.Activate the “Snap to Zero Crossings” button in the 
Sample Editor toolbar.
When you activate this button, warp tabs will snap to zero crossings and 
hitpoints (if shown).
3.Determine the original tempo (if this is non-varying) or 
the length of the file (see “Determining the audio tempo au-
tomatically and time-stretching your audio” on page 247).
4.Click the Auto Adjust button so that the audio event is 
stretched to the project tempo.
The Straighten Up mode is automatically activated.
5.Select the Free Warp tool by clicking on it.
For aligning the tempo, you should use Bars and Beats as the ruler reso-
lution. When you place the mouse pointer in the waveform display, it 
changes to a clock with arrows on either side, and a vertical line in the 
middle which represents the pointer. When you move the pointer in the 
waveform window, it shows the position in bars, beats and ticks as well 
as in seconds.
6.Line up the audio file so that the first beat of the first 
bar (in the audio event) starts on the first beat of a bar in 
the project.
If the audio file doesn’t start on a downbeat, you can 
use the Event Start handle in the Sample Editor and adjust 
the position in the Project window so that the first down-
beat in the sample is aligned with the first beat of a bar in 
the grid.
Now the musical first downbeat should be aligned with the first beat of a 
bar in the project. The next step is to see where the first warp tab needs 
to be added. It may be useful to hear the metronome click to determine 
when the tempo of the audio clip drifts from the project tempo. To hear 
the metronome, activate the Click button on the Transport panel and play 
back using the transport controls.
7.Play back the audio file, either by auditioning in the 
Sample Editor or from the Transport panel, and determine 
where the first beat of a bar in the audio event does not 
match the corresponding ruler position in the project.
If you find it difficult to pinpoint an exact position in the audio event, you 
can switch to the Scrub tool and/or zoom in the view. Switch back to the 
Free Warp tool when you have found the position.
!When you change the Straighten Up mode, select 
another Quantize value or move the Swing slider, all 
your warp edits will be lost. 
						

							260
The Sample Editor
8.In our example, the first beat of the third bar in the au-
dio event is slightly offset from the corresponding grid po-
sition and thus needs to be moved back a bit.
9.Place the pointer at the position of the first beat of the 
third bar in the audio event and click and hold.
When you click, a warp tab is added. If the position where you clicked 
was off, you can adjust it by dragging the tab in the ruler.
10.With the mouse button still pressed, drag the warp tab 
so that the position lines up with the first beat of the bar in 
the ruler.11.Release the mouse button.
Now the first beat in the audio event is perfectly aligned with the corre-
sponding position in the project! 
You can also first add warp tabs at the relevant musical 
positions and change their positions later, see “Editing 
warp tabs” on page 261.
Next to the warp tab handle in the ruler, a number is 
shown. This number indicates the warp factor, i.e. the 
amount of stretch. Warp factor numbers higher than 1.0 
indicate that the audio region preceding the warp tab is 
expanded and will play back slower. Warp factor numbers 
lower than 1.0 indicate that the audio region preceding 
the warp tab is compressed and will play back faster. 
ÖNote that this ratio is limited to a range between 0.1 and 
10. This factor is updated when you change the project 
tempo with Straighten Up mode enabled or apply the 
timestretch tool in the project.
12.Continue to use the same method to align the first 
beat in each bar to the corresponding ruler position.
You only have to add warp tabs where the downbeat in the audio file 
drifts from the ruler position and/or if you want to lock a warp tab so that 
it is not moved when editing other points. 
When you are done, the previously varying tempo of the 
audio event will be metronome-steady and will adapt to 
any tempo in Cubase.
The third downbeat in the audio event.